• Sijohaknonchong
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• v.19 no.1
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• pp.155-177
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• 2003

Jeong Geuk-in was a poet of the early Joseon period. He lived for 45 years before Hangeul was published and 35 years afterwards. So, he wrote poetry both in Chinese and Korean. He was a creative writer who wrote Korean poems and songs. There were only a few works written in Korean including and before him. His Korean poems are , and . He created Korean poems and songs by unifying three literary forms of Sijo, Gyeong-gi-che-ga and Gasa. This study was intended to examine written in Korean. For the study, the form of the Bul-woo-heon-ga was analyzed and it was considered as Saseolsijo (a form of sijo with no restrictions on the length of the first two verses) for genre classification. However, it is generally thought that the Saseolsijo appeared in the seventeenth century. Therefore, this study is to explain the reason why Bul-woo-heon-ga is included in Saseolsijo. Another problem is that the writer of Bul-woo-heon-ga is not Jeong Geul-in, because of the fact that the speaker who appears in Bul-woo-heon-ga admired Jeong Geuk-in. In general, people do not admire themselves. As Jeong Geuk-in is a subject to be admired in the book, it is thought that the writer of the book is considered as one of his pupils or friends.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.261-285
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• 2016

Saseol-sijo, a form of sijo with longer verses, still affords pleasure to modern readers, even when it is read without the original performance context. In this study, I focused on Saseol-sijo that induces laughter through exaggeration and caricature while singing about eagerly waiting for a lover who has left. These texts describe concurrently the emotions that are contradictory to each other, such as nostalgia and laughter. In addition, this feature reflects human's inner emotions that are not unified but rather change dynamically. Craving creates a sense of nostalgia, and also produces a comical element in nostalgia, so that nostalgia and laughter can be co-exist without conflict. In this study, 'semiotic square' was applied as the framework for interpreting the Saseol-sijo, which demonstrates the coexistence of inconsistent meanings. As a result, a Saseol-sijo which sings about waiting for a lover can be interpreted through contraires such as prohibition and authorization, craving and concerns, exposure and concealment and concentration and dispersion. The nostalgic laughter in Saseol-sijo is generally based on the conflict between the craving self and the restrictive world. A character consumed by craving may seem ridiculous and pathetic in the view of others. However, people in general would find sympathetic humor and identify with characters who portray their weaknesses or repeat their mistakes. After all, this is the laughter of compassion and reflection which Saseol-sijo evoke.

• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.13-20
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• 2019

This study aims to study the codes that can code the Sijo's emotional codes into AI and use them in literature therapy. In this study, we conducted emotional coding of the Sijo Crying Cuckoo at the Empty Mountain. As a result, the Emotion Codon was able to indicate the state of sadness catharsis. This implanting of the Sijo's emotional codes into Emotion Codon is like implanting human emotions into AI. If the basic emotion codes are implanted in the Emotion Codon and induced of AI's self-learning, We think AI can combine various emotions that occur in the human body. AI can then replace human emotions, which can be useful in treating of human emotions. It is believed that continuing this study will induce human emotions to heal the mind and spirit.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.39-43
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• 2019

Recently, interest in literary therapy has been increasing. However, sometimes reading therapy is called literary therapy. But if you want to be a literary therapist, you need to know about the feelings that literary texts convey. To this end, Park Inkwa has long studied the relationship between sentences and emotions that the human body ignites. This study was also done in the view that the human body is so inspired and cured by literary text. It was conducted on the Lee Hangbok's Sijo "High Peak of Chullyoung", as it is suitable to discuss the feelings of literary therapy. In this study, Emotions were causing a transference to the reader with grief, which told the effect of literary therapy. We hope that such research will continue and further develop the technique of literary therapy.

• Sijohaknonchong
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• v.44
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• pp.197-236
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• 2016

The aim of this study is to discover the distinctive aspects of Sijo in the 17th Century through five old music scores, "梁琴新譜Yangqeumsinbo", "白雲庵琴譜 baekwoonamgeumbo", "增補古琴譜jeungbogogeumbo", "延世大學校所藏琴譜geumbo in Yonsei University", "琴譜古geumbogo", which were compiled in this time period. First, four Sijo works are found from the "梁琴新譜Yangqeumsinbo" and one of them is noteworthy because it was sung as 中大葉Jungdaeyeop, 初中大葉 Chojungdaeyeop, 二中大葉Yijungdaeyeop and showed signs to fit the Sijo format type since the 17th century. In "白雲庵琴譜baekwoonamgeumbo", there are three Sijo works (one has recorded music scores and two don't) and one of them is discovered with last phrase being omitted. In "延世大學校所藏琴譜geumbo in Yonsei University", there are 9 Sijo works performed with 中大葉Jungdaeyeop. In "增補古琴譜 jeungbogogeumbo", there are three works performed with 數大葉Sakdaeyeop and one of them is noteworthy as a clue about the relations between Sijo and Goryeosokyo because it is a modified work which adapted the Goryeosokyo "Gasiri" according to the Sijo format. In 琴譜古geumbogo, there are three works with high possibility that repertoire with 中大葉Jungdaeyeop were already set up at this time. Based on these five music scores, it can be mentioned that a lot of Geumbos were compiled in 17th century, not for the purpose of enlightening discourse at the national level but for referencing for music lovers by themselves to memorize songs individually. It is also discovered that Sijo was performed with only 平調pyeong-jo out of 羽調woo-jo, 羽調界面調woojokyemyen-jo, 平調pyeong-jo, 平調界面調pyeongjokyemyun-jo in early 17th century, but it was performed with other three and 數大葉Sakdaeyeop as well after the mid-17th century. On the other hand, despite the change in the musical tunes, lyrics do not show a significant change at this time because it is estimated repertoire with specific piece of music was already formed in 17th Century. However, performing itself would give a certain impact on change and loss of lyrics because it tends to focus on communication and emotional connection between singers and audience. Clarifying characteristics in Sijo from old music scores is meaningful in that Sijo can be understood better not only as written poetry but also as oral poetry and overcome bias of previous researches which have been proceeded mainly on Sijo lyrics collection(歌集).

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.71-86
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• 2021

The purpose of this study is to reveal the significance of musicals and find a way to utilize them in Korean language culture classes for foreigners. Korean language education aims to improve communication skills, and cultural education is necessary to help students understand not only the language but also the social background and context of the language. Accordingly, the author of this study has put together a lesson plan for Korean culture incorporating musicals, a topic that has been heretofore disregarded in Korean language education. Musicals are an appealing art medium for Korean language learners, as they provide striking visuals centered around distinct narrative structures and music. The musical "Swag Age: Shout out Joseon!," which this study focuses on, provides particularly suitable content, as it deals with social issues that are relevant even in contemporary Korean society and includes sijo (poetry), which can be used to teach traditional Korean literature. Based on the above characteristics, the author of this study outlines a Korean culture lesson plan teaching sijo through the musical "Swag Age: Shout out Joseon!" The class will be for learners of intermediate level and above, and consists of 4 sessions: 1) Understanding the overall plot of the musical, 2) Learning about Korean sijo, 3) Writing sijo based on your own life, and 4) Presenting your own sijo. This culture class is significant in that it goes beyond simply learning about sijo and enables students to internalize the meaning of and actively enjoy sijo by writing their own versions. In addition, it is expected to be a compelling class that, on top of its educational value, introduces and allows students to experience a wider range of Korean popular culture by adding the musical genre to the common repertoire of movies, dramas, plays, and pop songs often covered in Korean culture classes.

• Sijohaknonchong
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• v.44
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• pp.139-164
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• 2016

This paper was written with the object of determining place of Lee, Jeong-bo (李鼎輔)'s Pungryu(風流) & its meaning. Place of Lee, Jeong-bo's Pungryu(風流) is Hodong(壺洞) & Haktan(鶴灘). Hodong(壺洞) is located toward east at Jongmyo(宗廟). That place was Hwanggyo(黃橋) & Yeonji(蓮池). At that time, Haktan(鶴灘) was in Eonju-myeon(彦州面) of Gwangju-bu(廣州府). That place is Hangnyeoul flowing together Tancheon(炭川) & Yangjaecheon(良才川). Jeojado(楮子島) & Mudongdo(舞童島) was neighborhood. Lee, Jeong-bo's Pungryu-life(風流生活) was already beginning since serve in a government. Therefore HaktanPungryu(鶴灘風流) is also beginning a long time ago.

• Sijohaknonchong
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• v.30
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• pp.319-332
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• 2009

The research on the poem work of Hwang Jin I may have been discussed relatively profoundly compared to the number of works left by her. On the prolongation of such result that has been made thus far, the author tried to investigate aspect of confrontation of figuration and situation of farewell revealed in the poem work of Hwang Jin I through this dissertation. The 6 poems of Hwang Jin I are works which are directly or indirectly related to the situation of farewell. Thus, the author began to discuss dissertation, thinking that the difference in aspect of confrontation in the farewell situation of Hwang Jin I projected in the work can be confirmed by analyzing the poem work of Hwang Jin I. First, with respect to the figuration of farewell in the poem of Hwang Jin I, it cannot be said that she left many poems. However, it could be confirmed that the universal human emotion felt in the situation of farewell was effective converted to figuration by personality of the author through the delicate symbol and simile felt in each work and diverse poetic devices. Then, the aspect of confrontation of farewell situation revealed in the poem of Hwang Jin I was investigated in 3 large divided aspects. First, it is the nature-compliant aspect of confrontation that does not artificially reject or disobey but accepts the moment of farewell by relying on the providence of nature with respect to the situation of farewell. Four works pertain to this category, namely, <니 언지 무언(無言)하여$\sim$>, <어뎌 니 일이여$\sim$>, <산(山)은 넷 산(山)이로디$\sim$> and <청산(靑山)은 내 뜻이요$\sim$>. Next, it may be challenge to the nature, that is, to cut time and space at own intention against the providence of nature. The work, <동지인(冬至人)달 기나긴 밤을$\sim$> pertains to this category. Finally, it is mixed aspect of confrontation in which the above-mentioned compliant aspect of confrontation is mixed with challenging aspect of confrontation. The work, <청산리(靑山裡) 벽계수(碧溪水)ㅣ야$\sim$> may pertain to this category. As explained above, the aspect of confrontation revealed differently in the situation of farewell may be due to the peculiarity of her status as official kisaeng. Furthermore, her magnanimous and affectionate character may be also quite influential on this matter. The matters to be supplemented to make the above discussion successful need to be studied in the subsequent research.

• Sijohaknonchong
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• v.42
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• pp.187-212
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• 2015

This study is focused on how Kim Sujang Gagok which celebrated Chingyeong Chinjam procedure was created on ChungHae year (1767). It largely consists of four main parts. First, it studied Chingyeong procedure which was arranged by the King on 26 February 1767. Chingyeong procedure was performed at the East Jeokjeon(this area is now Jeonnong-dong). Second, it also studied Chinjam procedure which was arranged by the Queen on 10 March 1767. Chinjam procedure was performed at the old ruins of Gyeongbok Palace. Third, Kim Sujang created the celebrated Gagok on 9 March, the day before Chinjam procedure. It tells that he certainly recognized Chinzamryae was contained within Chingyeongryae. Finally, While Kim Sujang served as a Seoli of Byeongjo and then got an additional office and a practical office for old man, he got involved in Chingyeong Chinjam procedure on ChungHae year. And consequently, it seems that he created those celebrated Sijo.

• Sijohaknonchong
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• v.25
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• pp.145-174
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• 2006

The purpose of this study is to research the correlation of Sijo with Akjang. In Joseon Dynasty, the contact of folk music and court music was brisk. Although they had some political premises, many Jeongjaes presented in the royal court parties accepted Gagok, one of the representative folk song genres. It was an eye-opening matter. The song words sung by Gagok music accompaniment were the lyrics of Sijo. We can give Sijo that was used in diverse royal court parties as an typical example about introduction of folk music to the court music. A lot of Goryeo Dynasty's Jeongjaes were introduced to Joseon Dynasty nearly as they are. Naturally so most Sokak-gasas were. Bukjeon was sung to Jinjak tune which Jeong-gwajeong was sung. Bukjeon in the music book Akhak-Guebum is a long song, but instead Bukjeons in the music book Geumhapjabo and Yang'geum-sinbo are short. It suggests that the poetic form of Sijo was introduced to the Lyric of royal court music from a point of time in the early Joseon Dynasty. Especially, Bukjeon had been continued to the late Joseon Dynasty after exchanging to the lyric form of Sijo. Bukjeon had been used In the royal court to the first half of Joseon Dynasty It became established in the repertory of Gagok after spreading to people out of court. Turnover from the long Bukjeon to the short was a result that the folk music influenced royal court music. Bukjeon. song words praying King's longevity. was used in the diverse situations such as a small royal parties, royal archery, and King's outing. It can be a clue that the Korean song words continued to late Joseon Dynasty were used for the lyric of royal court music. In the correlation of the poetic form of Sijo and Akjang, we can find out some characteristics different from our common sense to distinguish royal court music from folk music.